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| PHOTOGRAPHY INTERNATIONAL | | 18 — 25 April 2018 | |
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| | | Lot 458 + Lot 459, 2016, from the series Contemporary Art © Daniëlle van Ark / courtesy De Nederlandsche Bank | | | | | | | | 20 April – 10 June 2018 | | | | The exhibitions open on Thursday 19 April 2018, from 5.30 pm in the presence of Daniëlle van Ark | | |  | | | | | | | | | | For Dutch artist Daniëlle van Ark (1974) photography is the most ephemeral of all media. With the development of steadily more advanced reproduction technologies, the expiration date of a photograph seems to diminish exponentially. Where the photograph was a unique and precious item in the nineteenth century, today everyone can record and reproduce memories at just a push of a button. But amidst the deluge of fleeting images produced and consumed every day, to what extent can something or someone still be truly immortalised?
Van Ark is interested in the opaque systems of value creation in an era where everything seems to have become reproducible. Scouring flea markets and online auction sites, she acquired antiquated image archives that formed the starting point for new work. No image was sacred in the process, and the rear side, the printer’s proof and the negative were considered just as significant as the final reproduction. Her own archive was subjected to the same scrutiny: works she produced in the past were deconstructed and reused with the same unscrupulous rigour.
Artists’ Proof contains works from Van Ark’s most recent series. Common premise is the volatile meaning and value of the photograph as a reproducible art form. In addition to her most recent work, the exhibition presents an installation created specifically for Foam’s exhibition rooms. The installation consists of ‘old’ work, which is ‘stored’ on depot carts and shelves in the museum. Her installation is a playful protest against the power of the curator to position her work in the public eye – or to withhold it from view. | | |
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| | Portrait of Daniel J. Butler with Gold and Mining Tools, c. 1850
©National Gallery of Canada, Ottawa. Gift of Archive of Modern Conflict
Daguerreotype with applied colour | | | Gold and Silver | | | | a modern-day look at the nineteenth century gold rush in the United States | | | | 20 April – 10 June 2018 | | | | | | | | | | | | | The exhibition Gold and Silver offers a modern-day look at the nineteenth century gold rush in the United States.
Contemporary projections, nineteenth century daguerreotypes and albumen photographs allow you to travel along the rivers of California and across the snow-covered mountaintops of the Yukon to fathom the ambitions, dreams and illusions of an entire generation of gold seekers.
The young adventurers differ in their postures, expressions and clothing from the usual portrait photography of that time, which was far more solemn. They are shown in combination with the landscape in which the search for gold took place.
In the middle of the nineteenth century two great dreams became reality: the possibility of filling your pockets with gold, the most valuable of metals, and the possibility of having your likeness recorded by means of two metallic salts: gold and silver. The exhibition stresses this relationship between the gold rush and early photography. | | |
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| | Diatoms, from: J.G. Helmcke, W. Krieger, J. Gerloff, Diatom Shells in Electromicroscopic Imaging
© Verlag Bild und Forschung 1962, Berlin | | | Image Spaces: Biology and Building | | | | 20 April – 21 May 2018 | | | | Opening reception: Thu 19 April 19:00 | | | | | | | | | | | | | Coincidence or evolution? Microscopic diatoms and post-war domed structures often exhibit the same underlying structural features, even though we have evidence that these coincidences were not deliberately intended by the architect. Inspired by this surprising discovery, in 1961 biologist Gerhard Helmcke and architect Frei Otto founded the interdisciplinary working group <Biology and Building> at the Technische Universität Berlin.
The objective of this collaboration was to reach a better understanding of biology, technology and architecture, and to outline the principles of “natural building”. Their research aims first of all to bring about an improved understanding of our surroundings, but also to ensure that the future of our architectural environment is informed by the tension between technology and nature.
Three-dimensional electron microscopy, early methods of computer-based graphics (like Konrad Zuse’s Graphomat) and other methods of visualization make it possible to identify analogies between nature and technology.
Building upon the collaboration between Helmcke and Otto, this exhibition takes a look at research in the field of architecture, art and science that deals with the relationship between perception, image and knowledge. It was curated in collaboration with students from the Design Faculty and the Institute for History and Theory of Design at the Universität der Künste Berlin, and from the History of Science Module in Faculty I at the Technische Universität Berlin.
An exhibition by the Universität der Künste Berlin and the Kunstbibliothek of the Staatliche Museen zu Berlin. | | |
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| | | |  | | | Max Baur. Blick vom Chinesischen Haus, nach 1934
Vintage, Silbergelatineabzug auf Seidenmattpapier, 38,5 x 28,5 cm
© Lichtbild-Archiv Max Baur / Sammlung M.-L. Surek-Becker |
| | | | | | | | Fotografien aus den 1930er Jahren | | Thu 19 Apr 17:00
20 Apr – 19 May 2018 | | | | | |
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| | Harf Zimmermann
Fire wall #3, 2010, 177 x 219 cm
© Harf Zimmermann | | | | | | | | 21 April – 24 June, 2018 | | | | Opening: Friday, April 20, 7-9 pm | | | | | | | | | | | | | Harf Zimmermann, born in Dresden in 1955 and raised in Berlin, experienced the ruins and gaps in the urban landscape of the postwar period, when European cities continued to bear the scars of World War II for a long time. In his monograph "BRAND WAND", published in 2014 by Steidl, the photographer describes the barren fire walls in Berlin, as a "sea of bricks" and as "testimony to catastrophe and failure." In the accompanying text, his colleague Robert Polidori writes: "Over time I've come to realize that these images are really the visual background chours of Harf Zimmermann's personal life history. [...] Harf has personally lived through all of the changes Germany has experienced over the last sixty years. When we consider the unfolding of that uneasy history, we see that it is not a sequence of consistent progressions but rather an evolution of breaks and discontinuities punctuated by cataclysms."
Ever since completing his studies at the Academy of Fine Arts Leipzig and his thesis project with Arno Fischer, entitled "Hufelandstrasse, 1055 Berlin" (1987), Zimmermann has been taking photographs with a large-format camera. For over twenty years he has been traveling with this heavy device to places such as Berlin, Leipzig, Dresden, and Warsaw, searching for traces of his own history written on these immense walls marking the end of a block of buildings or an empty lot: advertisements from the pre- and postwar eras, make-shift repairs, graffiti from the 1990s, contemporary restorations, or all of these things combined. Some walls are covered with grass and ivy, and trees have planted themselves in front of them and at some point grew higher than the building. Ignored or unnoticed by most, these remna… | | |
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| | | © Michael Schäfer, untitled, from the series Invasive Links, 2017, Inkjet print on wall paper (Premium Vlies), 290 x 208 cm | | | | | | | | 24 April – 6 June 2018 | | | | Opening reception: Friday 20 April 19:00 | | | | | | | | | | | | | In the fall of 2014, Michael Schäfer was confronted for the first time with video footage captured and posted on the net by fighters and civilians during the battle for Kobane. Since then, he has been preoccupied with this kind of video footage, its extremism and violence, its unfiltered reporting, which is delivered via internet straight into our living room respectively onto our screens. The lack of any contextualization by a reporter or an editor reinforces the immediacy of these images. Furthermore, this immediacy is accompanied by a general sense of hopelessness in regards to the seemingly intractable conflicts in the Middle East. Through media, we experience a closeness to the apocalyptic conditions that prevail in the crisis regions – and, according to the artist, this proximity would basically demand us to act. However, unlike during the Vietnam War, we don’t have any influence over the unfolding events. For example, we cannot demonstrate against a single government, because too many different forces are involved. All that remains for us to do is to scrutinize these conditions. This might at least result in a humane and helping attitude towards refugees.
For his series, “Invasive Links,” Michael Schäfer uses screen shots of videos taken by participants or witnesses of the war zone. Using the technique of digital montage he then inserts protagonists in mundane, everyday situations into the image spaces of the video stills. For this purpose he takes pictures with his studio camera of friends, aquaintances and of himself. This personal closeness is important to him in order to establish a collective "we," to visually build a connection between "us" and the conflicts taking place elsewhere. The artist is not interested in pointing fingers at others. In fact he is showing our inability to adequately respond to these conflicts as well as to their medial and digital transmission. By superimposing two competing realities, Michael Schäfer raises current questions: What does it mean when events transmitted through media increasingly permeate and alter our reality? Beyond the role of the spectator and the voyeur, what is our scope of action in regard to these images and the events underlying them? Presented as large-scale photographs on wallpaper, the images leave an immediate impression on the viewer.. In an absorbing fashion, they become part of the room. | | |
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| | | |  | | | | Otto Reitsperger: Ligurisches Meer bei Tellaro, Italien |
| | | | | | | | | | | Fri 20 Apr 19:00
21 Apr – 6 Jun 2018 | | | | | |
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| | | Rosemarie Zens: The Sea Remembers, 2014 | | | | | | | | 25 April – 10 June 2018 | | | | Opening reception: Tuesday 24 April 19:00 | | | | | | | | | | | | | Decades after World War II, Rosemarie Zens returned for the first time to the town in today’s Poland where she was born. In 1945, when she was just a young child, her mother, like many other refugees, had been forced to flee with her. She embarked on a search for clues about her early life, a quest for the meaning of origins and memory, for the first formative experiences. With her camera, she captured the things that drew her attention: the expanses of meadow, the paths into the unknown, the silhouettes of night-time shadows. Mysterious and ethereal landscape photographs mingle with photos from family albums, intertwining fragmentary memories with pictorial inventions.
Before she began working on her free-lance photography projects, Rosemarie Zens worked as a teacher, psychotherapist and writer and this background is recognizable in all her works. In The Sea Remembers, the artist pursues the link to the blind spots of early childhood, which are difficult to connect with concrete places. Thus the houses in the mist, the frost-covered meadows or the hollow forest paths become inner landscapes rhythmically interwoven with photographs from her family archive to make up non-linear narrative strands. This results mainly in open pictorial works that enable the viewer to sense far-distant mental states and connect them with his or her own experiences.
"It is said that there is a cellular memory, that cell water is laden with meaningful powers, that traces of memory, measured and mapped and reaching far back into the past, are stored in it and are seeking the way to physical experience. But our place of origin eludes us when we try to pin it down. Then it changes like the sea, which invents nothing yet takes on different forms. Just as our consciousness and memory strive to constantly reassure us, to re-orient us through memories and to temporarily establish for us an order of things and images," Rosemarie Zens writes in her essay in the book published at Kehrer Verlag, Heidelberg 2014 | | |
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| | | |  | | | | Harald Hauswald: Elbe/Rathen 1984 © Harald Hauswald/OSTKREUZ |
| | | | | | | | | | | Wed 18 Apr 19:00
18 Apr – 26 May 2018 | | | | | |
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| | | |  | | | | Gundula Schulze Eldowy: aus "Spinning on my Heels" |
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| | | Ulrike Ottinger, Chamisso's Shadow (2015). Courtesy of Ulrike Ottinger Filmproduktion | | | | | | | | Glasgow International Festival of Visual Art 2018 | | | | 20 April – 29 July 2018 | | | Artist Talk: Ulrike Ottinger Friday 20 April 2018 3.00pm - 4.00pm
Goethe Institut, Glasgow, 3 Park Circus, Glasgow G3 6AX. | | | | | | | | | | | | | The Hunterian presents a solo exhibition of moving image works and photographs by the internationally renowned filmmaker and artist Ulrike Ottinger, accompanied by a retrospective screening of her key films.
Among Ottinger’s major works are the ‘Berlin Trilogy’ (1979-1984), the feature film Johanna d’Arc of Mongolia (1989) – an incredible journey on the Trans-Siberian Railway that takes a motley company of western women to the wilds of Inner Mongolia – and, applying an ethnographic lens to marginal European cultures, Twelve Chairs (2004) and Southeast Passage (2002).
Supported by Glasgow International and the Goethe Institut. | | |
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| | | |  | | | | © Stephan Ziehen |
| | | | | | | | | | | Fri 20 Apr 19:00
20 Apr – 5 May 2018 | | | | | |
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| | | |  | | | Kris Scholz
marks and traces (caochangdi wall), 2013
Inkjet print with pigmented ink on linen, 180 x 135 cm |
| | | | | | | | | | | Fri 20 Apr 19:00
21 Apr – 22 Jun 2018 | | | | | |
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| | | Mona Lisa, 2017 © Thomas Mailaender, courtesy Michael Hoppen Gallery | | | | | | | | 17 April – 26 May 2018 | | | | | | | | | | | | | The Michael Hoppen Gallery is delighted to announce its first solo show with multimedia artist Thomas Mailaender.
Thomas Mailaender (born 1979) is a French artist living and working between Paris and Marseille known for his use of a wide range of media and his experimentation with printing processes, fixing strange and humorous found imagery onto the surface of ceramics, photography and sculpture. The resulting objects teem with curiosity and a sense of the bizarre, pairing traditional, historical techniques with today’s prolific digital visual culture.
The source of images used in Mailaender’s work is the artist’s ‘Fun Archive,’ a collection of absurd, amateur photographs he started amassing from the internet since 2000. Once applied to their intended surface or material, and removed from context, the resulting objects are transformed into monuments to contemporary culture. Using humour as a provocation, Mailaender’s work raises questions not only about the role of the artist, but also about the absurdity of the everyday and the pretensions of the art world.
For his show at the Michael Hoppen Gallery, Mailaender will be exhibiting a cross-section of works. From imagery printed on found ceramics and Italian lava stone, using an extremely durable process created for photographs to be printed on gravestones, to his series ‘Skin Memories’ in which he has developed techniques for printing on leather during a residency at LVMH Métiers d’Art, the exhibition will be extensive and take place over multiple floors of the space in Chelsea. Also on show for the first time will be a selection from the artist’s personal collection of objets trouvés “The Fun Archeology”. Continuing in the theme of his work, the “Fun Archeology” is a celebration of the bizarre, full of strange and wonderful objects, such as Algerian propaganda movies or minuscule souvenirs and an extensive photo book collection.
Thomas Mailaender’s work is held in public collections worldwide such as the Musée National de l’histoire de l’Immigration, Paris, FNAC (Fond National d’Art Contemporain), Paris and MONA museum, Tasmania. He has exhibited widely in exhibitions such as ‘Do Disturb’ (Palais de Tokyo in Paris, 2017), "Iconoclasts: Art Out of the Mainstream" (Saatchi gallery, London, 2017), Performing for the Camera (Tate Modern, 2016), ‘Night Climbers of Cambridge’ (Festival Images in Vevey, Switzerland, 2014), ‘From Here On’ (the Rencontres d'Arles, South of France, 2011), Paris Photo, and will be exhibiting in the 'Back to the Future' show at FOAM museum in Amsterdam in the coming year (19 January - 28 March 2018). Thomas' curatorial work includes ‘Hara Kiri’ (Rencontres d’Arles 2016) and Photo Pleasure Palace with Erik Kessels (Unseen, Amsterdam, 2017). Numerous Artist books have been published about Mailaender’s work and his "Illustrated People" (AMC/RVB books) was awarded PhotoBook of the Year in the 2015 edition of the Aperture Foundation PhotoBook Awards. | | |
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| | Odessa. 21 November 2015
© Niels Ackermann/Lundi 13 | | | | | | | | PHOTOBOOKFEST 2018 | | | | 20 April – 24 June 2018 | | | | | | | | | | | | | Moscow international contemporary photography and photobook festival PHOTOBOOKFEST 2018 presents «Looking for Lenin» – a project by a Swiss photographer Niels Ackermann and a French journalist Sebastien Gobert. The exhibition will be open from April, 20 till June, 24 in The Lumiere Brothers Center for Photography.
In December 2013 Niels Ackermann witnessed the Lenin monument being demolished on the Bessarabia square in Kiev. What was it: a public execution or maybe legalized vandalism? Or was it a natural process of people parting with the past, of reinventing and amending cultural and political patterns? After the Euromaidan Ukraine the government launched an official, reinforced by presidential decrees decommunisation process. By 2015 there were five times less Ilyiches in the country, and today there is not a single one left.
Niels Ackermann’s and Sebastien Gobert’s project features photos of toppled down statues of the leader. The authors of the project tracked them down in the backyards of museums, at auctions or in private collections. Of some statues there were only fragments left, some have been repainted, beheaded, demolished or abandoned in industrial areas, forests or dumps. Some statues have been transformed to resemble Taras Bulba or even Darth Vader. | | |
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| | | © Ikuru Kuwajima | | | | | | | | PHOTOBOOKFEST 2018 | | | | 20 April – 13 May 2018 | | | | | | | | | | | | | Moscow international contemporary photography and photobook festival PHOTOBOOKFEST 2018 presents an exhibition «I, Oblomov» by a young photographer Ikuru Kuwajima (Japan/Russia).
«One morning, in a flat in one of the great buildings in Gorokhovaia Street, the population of which was sufficient to constitute that of a provincial town, there was lying in bed a gentleman named Ilya Ilyitch Oblomov» 1. With the very first line of the novel a Japanese documentary photographer Ikuru Kuwajima begins his journey in time and space in search of the key to the «mysterious Russian soul» and into the depths of his own night dreams.
The project called «I, Oblomov» both offers a photographic interpretation of Russian classics and attempts to discover a new cultural identity. In other words, Ikuru tells a story of himself and at the same time, all of us. This series of self-portraits, made to Japanese standards so scrupulously and precisely, is important not only because of the geographical spread of the photos (Kazan, Simferopol, Moscow, Kirov, Almaty, Kiev, Bishkek, Samara, Morki village etc.), but also thanks to the various very detailed spaces in which IkuruOblomov finds himself sleeping: spaces for introspection, solitude and thoughts about life and its frailty. | | |
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| | | |  | | | | Alexander Bondar, Moscow 2015 |
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| | | |  | | | Olaf Heine: Iggy Pop, Miami 2001
© Olaf Heine, Courtesy CAMERA WORK |
| | | | | | | | | | | Thu 19 Apr 18:30
20 Apr – 31 May 2018 | | | | | |
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| | | |  | | | Apichatpong Weerasethakul
Production still, Synchronicity 2018
Courtesy: Kick the Machine Films |
| | | | | | | | Apichatpong Weerasethakul + Hisakado Tsuyoshi | | 25 Apr – 17 Sep 2018 | | | | | |
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| | | |  | | | Two women dancing in the road amidst the traffic and shouting Black Power slogans. Cape Town. 27 August 1976.
Cape Times photographer © Independent Newspapers |
| | | | | | | | | | | Thu 19 Apr 18:00
19 Apr – 20 May 2018 | | | | | |
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| | | |  | | | | © Simon Roberts: Schilthorn, Lauterbrunnen, Switzerland, 2016 |
| | | | | | | | | | | Thu 19 Apr 18:00
20 Apr – 3 Jun 2018 | | | | | |
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 | Fairs |
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| | | | | | | | | | | | | | Wed 18 Apr 16:00
19 – 22 Apr 2018 | | | | | | |
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| | | | | | | | | | | | | Thu 19 Apr
20 – 22 Apr 2018 | | | | | |
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| Auctions |
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| Festivals |
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| Upcoming |
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| | | from Akihiko Miyoshi: Abstract Photograph (122211a), 2012 | | | | | | | Perspectives Strategies of Photographic Actions | | | | | | | | April 20 to 22 2018 | | | | | | | | | | | | | | For the tenth time, Darmstadt Days of Photography will be taking place from April 20 to 22, 2018. More than 50 artists will show photographic work on the topic of “Perspectives – Strategies of Photographic Actions” at twelve locations in Darmstadt, ranging from Museum Künstlerkolonie to Centralstation and Kunsthalle. During this weekend, Darmstadt will be the festival location for contemporary photography. The exhibitions, the awarding of the Merck-Prize, a symposium, workshops, guided tours, as well as the traditional artist dinner at Centralstation’s ball room invite to engage in conversation and exchange with artists and experts. | | |
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| | | | PHOTOBOOKFEST 2018 | | | | exhibitions | lectures | master-classes | workshops | portfolio review | | | | | | | April 20 — June 3, 2018 | | | | | | | | | | | | | It is the second time the international festival of emerging photography PHOTOBOOKFEST takes places in Moscow gathering experts in photography and book design from all over the world. The exhibitions open on April, 20 and will run through June, 3. The exhibitions will also be followed by lectures, master-classes, workshops for photographers and a portfolio review session by experts and the results of the Photobook Dummy contest will be revealed. The main venue for the event remains the Lumiere Brothers Center for Photography.
The mission of PHOTOBOOKFEST 2018 is to look at photography in the context of modern media, to decide what it is capable of and how it can reach the audience, including the potential of the modern photobook to exist as an independent art form.
Apart from photographic exhibitions, there will also be books on display. In the Small Hall of the Center the visitors will be able to see shortlisted photobooks of the Unseen Dummy Award organized by the biggest festival pf photography in Europe, Unseen.
During the festival, an expert jury will decide on the results of the Photobook Dummy contest which took place from February till April. Photographers from all over Russia, Ukraine, Georgia and CIS countries participated in it hoping to win the main prize – getting their photobooks published.
Information about the educational programme and portfolio review will be available on the official web site photobookfest.com | | |
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| | | Reassurance (detail), by Chennai, India-based photographer Nandini Valli Muthiah, from the series "Definite Reincarnate" | | | | | | | INDIA - Contemporary Photography and New Media Art | | | | | | | until 22 April 2018 | | | | | | | | | | | | | The FotoFest 2018 Biennial, March 10 – April 22, 2018, is dedicated to INDIA: Contemporary Photographic and New Media Art. FotoFest 2018 speaks to a number of contemporary issues in India including gender and sexuality, land rights conflict, the environment, human settlement and migration, and caste and class divisions. The participating artists are from India and the global Indian diaspora.
Organized by Lead Curator Sunil Gupta and FotoFest Executive Director Steven Evans, FotoFest 2018 will be one of the largest exhibitions of contemporary photography by artists of Indian origin to be presented in the United States. The artists were handpicked by Mr. Gupta and Mr. Evans while journeying through multiple cities in India and across the world.
“The artists, all of Indian origin, are imagining and responding to what India means today in its myriad complexities, given its ancient culture and more recent emancipation from British colonialism,” says Biennial Lead Curator Sunil Gupta. “They were selected by a process of portfolio reviews and face-to-face meetings with nearly three times as many artists than are in the show. The final short list was arrived at by assessing the engagement of their works with both the issues and the technology that define photography in the world today.”
“It is very exciting for FotoFest to be working with this remarkable range of artists,” says Steven Evans, FotoFest Executive Director and Biennial Co-Curator. “Some are well known to those familiar with the international world of contemporary art, while others will be new discoveries, as they are exhibiting internationally for the first time. We are looking forward to bringing this work together under the rubric of the … | | |
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| | | | | | | | | | Los Angeles Month of Photography | | – 30 Apr 2018 | | | | | |
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| | | | | | European young photography festival | | | | | | – 6 May 2018 | | | | | |
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| | | | | | SUPERPOSITION: Equilibrium & Engagement | | | | | | – 11 Jun 2018 | | | | | |
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